The folk
musical material of the state may be classified into three groups. The first
being the tribal music, which is undoubtedly very rich in content. The second
group is of the countryside music. It includes legendry narratives, ceremonial
songs, work songs and the songs linked with rituals, love longings and
occupations. Its music survives in cross-cultural traits of social
relationships. Its structural shades vary from caste to caste and from region to
region. The third group of songs has a close affinity with the Bhakti cult of
the medieval period. The vast concourse of these songs draws themes from
mythology and ranges from the traditional Harikatha to the simple rendering of
old Bhajans, art songs, lyrics of poets Chandra Sakhi and Sukhai and the devotional
songs attributed to Ramdev, etc. Thousands of songs and Vaishnav padas are sung
into varied complexion under religious and devotional fervour. Some of the
complexions even admit embellishment and to a small degree tanas and alap in
their stylized crudeness.

The folk musical map of Madhya Pradesh has
certain predominant features. The people seldom confine themselves to their own
songs except when singing ritualistic songs and the one's related to wedding
ceremonies. The peasant class has no taboo to sing popular songs of other racial
groups. Singing up participation is instinctive and unavoidable.

The folk
music of Madhya Pradesh comes from the tribal areas. Bastar which is the land of
the famous Muria and Sing Maria tribes is known for its haunting melodies. The
Relo is a remarkable type of the Muria song. Every young man must
respond to its call. It is an everlasting favourite song of the Muria boys and
girls. They may sing the Relo on any occasion.

The music
of the Hill Marias and the Bhils is full of short scales. Gooning is not rare
in the music of the Abujhmar tribe. The Murias of north Bastar generally sing
with a high-pitched voice using five to six notes. The music and dance are
interdependent among these tribes. The Murias, the Sing Marias, the Bhils and
the Korkus do not share the common traits of their traditional music with the
exception that the Gonds seem to have certain common layers overlapping with the
Murias. They have melodies of short ambit with occasional move to the octave.